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Credit: Photo by Jonathan Borg. The service team will be available between am and pm from 21st July until the closing day of the games. The shoot was in Baltimore US; the dailies processing — including file management and creation of MXF for edit — was undertaken in New York; whilst the final edit and post production were carried out in London. Working closely with DP Jay Feather, Coles set about creating an overall look and feel for the series.

Working alongside the grade, senior VFX artist Dolores McGinley completed the VFX work, including all greenscreen car comps, continuity fixes, paint outs and flare removal. Once the grade and visual effects were complete the titles, end credits, captions and additional effects were added by Penny in Avid DS.

Technicolor worked on 11 films screening at the Cannes Film Festival. Season 3 of Plain Jane has episodes shot in a number of locations, including major international cities such as London, New York, Paris, Rome and recently Malta, made possible with the assistance of the Malta Film Commission.

Pepito the setting of the blind date and Palazzo Parisio. Samsara develops themes of interconnection and transcendence, illuminating links between humanity and the rest of nature and showing how the human lifecycle mirrors the rhythms of the planet, on an epic scale. Filmed over a four-year period, in twenty-five countries, across five continents, the production harnessed Panavision Super 70 cinematography for the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.

The centre includes the latest highend test equipment from German manufacturer Chrosziel, which provides high-specification lens bench test equipment, and which recently released its latest softwarebased MTF Star lens performance measuring system. In recent months, Codex has also been working with Canon Inc. This prototype system allowed users to interactively view and navigate the video panorama of the live event - no matter what display device they were using.

Meanwhile, synced audio automatically adjusted to match the selected view. For Johannes Steurer, principal engineer at ARRI, this was an opportunity to explore a novel approach to visual language and technology. As a visitor to a live performance of more than dancers you can see the full panorama and at the same time focus on any individual dancer at will.

We bring this experience forward to electronic imaging in public and home viewing environments. The full 7k by 2k video panorama and novel approaches of user interaction make it possible. However, image quality including attributes like noise level and color reproduction, was problematic. A high dynamic range camera with impressive image quality was required. At that time the Alexa was just coming to the market, but it was considered too large and too heavy.

That way we reduce the size and weight of the camera head and we can still offer the same wellknown image quality. The option of having distance between the head and body allows full control without interference of the performance. In this case the distance between the Omnicam and the video control room is m, easily spanned by the optical fibre connection.

More very special effects All seeing eye Two new ProRes recording formats, ProRes x and ProRes 2K x 11 52 are designed for fast and efficient ProRes workflow for anamorphic or spherical feature films. At NAB in April, the company unveiled the Alexa Plus , a new Alexa model with similar functionality to the Alexa Plus, but featuring a Super 35 sensor, the ability to switch from sensor mode to sensor mode and built-in licenses for high speed shooting, anamorphic de-squeeze and DNxHD.

Keppler comes to ARRI with over 20 years of experience in the design and distribution of manual and motorized rigging systems and lighting control. The company recently hosted two legendary names from the world of cinematic visual effects, during a series of meetings about future technologies at the ARRI cinema in Munich. Douglas Trumbull, whose pioneering work in the field dates back almost 50 years and includes Close Encounters of the Third Kind , Blade Runner and The Tree Of Life , spoke about shooting at higher frame rates such as 60fps for improved image quality, an idea that he pioneered 30 years ago.

This is an area that leading directors today, including James Cameron and Peter Jackson, are now pursuing. Legato spoke about the challenges of working with a director as exact and demanding as Scorsese, and showed clips that broke down into their myriad component elements some of the complex effects shots in Hugo. Yash Chopra. Mateo Willis used a GearNex head for shooting eagles. Cinedeck has extended codec support in its RX and EX recorders.

Schwinzer joins ZGC and Cooke Optics ZGC, a supplier of film, photography, motion picture and digital video production equipment for the Americas, and Cooke Optics, manufacturer of precision lenses, has appointed industry veteran Juergen Schwinzer in a wideranging sales and technical capacity. Schwinzer started his career in as an apprentice with Siemens AG in Berlin, studying to become a mechanical and optical master craftsman. Over the years he held management responsibilities for various product lines including new cameras, lighting products and tripods.

Cinedeck EX and RX ship with more native codecs and 3D tools Cinedeck, developer of capture systems for motion picture and broadcast production, has released version 3. Cinedeck systems deliver unrivalled codec choice and toolsets to enable fast production workflow. The highlights of the v3. Also included in version 3. This toolset gives stereographers the opportunity to analyse their 3D set-ups and make adjustments early in the production process.

This product was developed by former Hollywood cameraman Bret Allen in response to a significant gap in the market for affordable geared head technology. It is designed to give filmmakers access to Hollywood-style geared heads without paying Hollywood prices. Having read about the characteristics of geared heads I thought they were worth experimenting with and when Oxygen DCT offered me a GearNex for a trial run I jumped at the chance.

It delivers a much smoother panning experience than conventional fluid heads and is ideal for a wide variety of filming tasks including motion pictures, music videos, short films, television documentaries, commercials and corporate videos.

Now if the Gearnex head was motorised. Picture this Eye see what you mean Pete Edwards takes a squint through the new Canon C Oh La La Ravishingly good Watch the birdie Nick Dance c lining one up for Switch. Alessandra Scherillo shooting a commercial with Little Fish Films. Once more unto the breach Camera shy Simon Bell and crew on Tested.

Things are looking up for Charlotte Bruus Christensen. The series follows the increasingly complex life of Mrs Jones as she balances love, affection, sex and motherhood between an ex-husband, a grown-up son, two young daughters and male admirers with a year age gap. Suzie Lavelle has joined Berlin Associates. Angus Hudson is shooting pick-ups on the thriller feature Last Passenger. Damian Bromley is shooting the new series of Misfits for Clerkenwell Films.

David Rom has finished shooting the short Expectations for director Michael Degani. Eben has shot many short films and two low budget features, the most recent being Confine which stars Daisy Lowe, Eliza Bennett and Alfie Allen, directed by Tobias Tobbell — set for release later this year. Dirk Nel has wrapped his block on Mayday. The value of the deal is undisclosed.

The Soho post house will now be run by Milne who has become chairman, and Julie Parmenter, who has been appointed managing director. Milne first bought the facility from the TV Corporation in , selling it five years later to Century Communications.

Then John and I worked for a couple of hours setting the look for the whole feature. With the actors generally being aged 70 or over, we went for a soft, low contrast look, and concentrated on warm tones. Company3 London In they sent a warning to the world, via Ereira, convinced that we are destroying the earth. They have concluded that we did not grasp the warning and they have to explain it better if the world is to survive. So they recalled Ereira and asked him to film their demonstrations, so beginning a truly bizarre journey.

We see people who know nothing of our world, seriously discussing dark energy with a leading astronomer and correctly identifying objects seen by the Hubble telescope. There were also some heavy dayfor-night shots, which we again treated with a delicate touch. Rather than just darkening the shots down, I used a multilayered stack to build the look, including lights on boats and moonlight shimmer on the ocean. Although this took a little while, it really tied into the overall stunning effect of the film.

Supporting a full digital pipeline for the Fast Girls production, Technicolor captured a complete archive of R3D files on a location RAID, as well as securing the master copy and second safety copy at its post facility in Soho, London. The full dailies deliverables were provided in ProRes with correction LUT and sound sync supplied to the editorial team each day for Final Cut Pro edit as required.

As part of the established digital workflow by Technicolor, all rushes were stored and archived on LTO at the Soho facility. We isolated and enhanced individual colour tones to suit certain scenes as well as using grads and vignettes to increase depth and the overall filmic texture.

Onsight The London and Shepprton-based facility company, that specializes in shoot-to-screen 3D stereo services, is starting full post production on the new British film, Breakfast With Jonny Wilkinson. Produced by Breakfast Films Limited with producer Rob Perren, the comedy is adapted from the successful play about a group of people watching the Rugby World Cup Final between England and Australia at their local rugger club.

Onsight was there to help every step of the way, offering daily reports on rushes and round the clock assistance. Onsight will provide conform to grade and finishing services for the two-hour film. Company3 London Company3 London has expanded its DI operations as it opened a third grading theatre to accommodate the flow of work through its Soho-based facility.

Company3 also worked on Quantum Of Solace. It is due for release later this year. With Downton the main objective was to come up with a very modern and fresh approach. Lay The Favourite follows the fortunes of a young woman who becomes involved with a group of professional gamblers working the sportsbook system in Las Vegas. In these days of difficult employment opportunities for all filmmakers, patience is fast evaporating at the apparent lack of urgency in pushing forward EU harmonisation with legal and social proposals, which would greatly improve the working lives of cinematographers.

IMAGO is to be considered an equal partner to the above-mentioned associations. It was resolved that IMAGO and each member association should improve publicity surrounding this campaign, and requests all members to sign its petition which denounces unfair contract practise and supports formal legal support of the ECSA at EU level.

It is expected to collect 10, signatures. It transmitted the relevant demands of the European creative sector to improve existing European policy through practical concrete solutions. Technical solutions to the problem of controlling collecting societies require more comparative studies and may be several years away, warned Eva Lichtenberger. It appears that some strong collecting societies are making aggressive noises to Commissioners to avoid any harmonisation in this field.

A practical solution to the dilemma has been broadly discussed and a member of the GEMA German Collecting Society will prepare a detailed proposal for further possible action. It will be in the form of a levy tap to be paid by the providers to an independent pan- European body, which will be responsible for distributing the collected money to the Collecting Rights Societies. This will be published shortly. It was again repeated that the EU has no formal competence to harmonise working conditions because member states do not accept any interference over social sovereignty.

The prime example being the UK, which repeatedly has used the Social Charter in abrogating responsibility to its workforce. Anne Maria Darmanin defended the opinion that harmonisation of working conditions in the audiovisual sector might be possible within the framework of her area of responsibility, the European Economic and Social Committee.

Mrs Darmanin also promised to attend the Enquete commission about working conditions in the audiovisual sector which is initiated by the AAC and will be organised next year by the film section of the Austrian Union. IMAGO owes a great debt to its delegates for their time and energy in attending this meeting and for the report.

It is a gathering of high-ranking politicians and diplomats from Europe under the patronage of the Austrian Foreign Minister and the governor of Lower Austria. The invitation to IMAGO to attend this recognised and exclusive conference was therefore a golden opportunity for IMAGO to outline the grievances of the creative workers, especially cinematographers, among delegates who seldom have the opportunity to listen their problems at close range.

For those who follow year after year the reports on these conferences, progress must seem painfully slow. It has to be as frustrating for the delegates giving annually of their time to attend as it is for the European Union officials who also join us with the best of intentions and motives. IMAGO believes that despite the apparent lack of progress it continues to be worth plugging away. We will continue until the exploitation of film workers in various forms is under control.

However the enthusiasm shown by all the societies to meet and discuss their specific issue s and mutual problems has been most encouraging, illustrating that artists are not privileged to the concept of frontiers. It is also encouraging that the idea to hold this meeting of friendship was initiated by the new Bosnian and Herzegovinian Society and the Serbian Society and greeted warmly by all the others. The agenda for the conference is to be established following discussion with the Societies involved.

It is hoped to include issue s such as the one of the biggest problem affecting all Balkan filmmakers, the fragmented nature of an unregulated market. In these times of financial stringency it was logical for the IMAGO Board to allow delegates, some now travelling from far away continents, the opportunity of experiencing both the IAGA AGM and Camerimage, recognised as the finest Festival in the world devoted to the art of cinematography.

Hence a decision has been made, thanks to the generous assistance and support of the Festival organisers, to return near to where IMAGO first started its meetings almost twenty years ago, then in the town of Torun.

The future intention is to hold our meeting in Poland every second year and alternate in locations where other IMAGO Societies who are willing and able to host us. However, as all participating cinematographers have benefited from the visits to other cities and the fellowship of cinematographers on their home territory the advantage of such an arrangement in terms of communication and friendship will not be lost and will now occur every second year.

Along with from Iceland, Birgit can claim affinity with Norway and Austria before forging her career in Germany where she now lives in Berlin as a successful cinematographer and teacher. Following graduation in photography in Vienna, Birgit worked as a trainee with cinematographer Hanus Polak who himself has recently been made an honorary member of the AAC. This was held in Turun, Poland in the early days of Camerimage.

As an internationalist she values her involvement in IMAGO for inspiring her through communication and friendship with others. She has a daughter living in London. He most recent play Campaign, was part of the epic Great Game at the Tricycle Theatre, received rave reviews and was nominated for a Olivier Award. He directed the screen drama Loveless for Channel 4.

In his screenplay for Jadoo, two brothers Harish Patel and Kulvinder Ghir both wonderful chefs, fall out catastrophically. At the climax of their dispute they rip the family recipe book in half — one brother gets the starters and the other gets the main courses. They set up rival restaurants, on opposite sides of the same road, and spend the next twenty years trying to outdo each other. The daughter Amara Karan of one of the brothers arrives home on a mission to reunite them so that they can both cook at her wedding.

Although Pratt had not visited the city for many years. This area of the city is also famous for its festivals including Diwali, the largest outside India. Being a Leicester-based production, it harnessed Cooke lenses, which are made nearby, the crew even got a tour of the factory.

I was delighted, and Amit then invited me to talk about the film. He had a definite take on this project, and I knew I would be in good hands. I discovered that we went to the same school Loughborough Grammar, so I just had to say yes. What appealed to you about Jadoo? Leicester has a history as a successful and wealthy manufacturing town.

It attracted a huge Asian community with many talented people, and has been further enriched because of that. That was interesting to me, as it was not like that when I was growing up there. Did you look at any creative references? I had not been back to Leicester for 25 years. It was almost unrecognizable, yet fascinating, to me. I tried to find the house I used to live in. The church where my father was the vicar is now a block of flats. When you first discussed the look of Jadoo with Amit Gupta, how did you envisage the film?

We wanted to capture contemporary Britain. By the nature of the story, there was a lot of colour involved. For example, we recreated a Holi Festival, the festival of colour, in a local park, where the participants throw powdered paint at one another. The challenge here, typifies much of the challenge throughout the film, which was to not let the images get over-saturated.

Along with early grading test, it also helped that I had a good creative relationship with the production designer, Adrian Smith, who was thorough and very sensitive to the colour palette in the film. What about the aspect ratio? Much Jadoo about curry And what was the working schedule? In total, I had four weeks in prep and pre-production on Jadoo. The principal photography was 30 days, and we worked 6-day weeks. During production, we went through the shot list every morning.

It was pretty efficient, and there were no overruns. Tell us your reasoning behind your choice of cameras, lenses, film stocks, lights and grip? How did it affect you shooting with just one camera? In a way having one camera is the best. But, when you shoot with one camera, everything you do — the angles, shooting the cut-aways — must be focused on the geometry of the scene. Tell us about your crew?

Most of them are mates, and all are very good technicians. Quite a few of them either live next door to me, or nearby, in Crouch End, in London, and they helped to create a great atmosphere on set. Rob Hart was our camera and Steadicam operator, Sam Renton was the focus puller, Tommy Holman did the loading, and we had a trainee in the form or Harry Campbell. We went through a lot of shared experiences, and I found him very easy to get on with at the time.

This could have been difficult, but Tommy is wonderful. Was the camera generally on a dolly, handheld or on a Steadicam? It may sound trite, but I moved the camera as appropriate for the scene. You have to be very careful about moving the camera. So, we shot mainly on a dolly, or Steadicam, to give us smoother, more gentle moves. Sometimes we were aided by the sets. For example, we shot in a hospital, where there are smooth floors and this gave me the opportunity to introduce some lovely tracking shots.

Obviously, a person in a hospital bed does not give you a major opportunity for camera moves, but even then you can create subtle, imperceptible, moves on a character or a face. What was your approach to the lighting? I mainly used soft-lighting through tracer frames and bounced fill.

China balls on a pole are always a really helpful filler, especially on tracking and Steadicam shots. When we needed significant blasts of light, such as in the hospital scene where the bed was beside the window, I used an 18K HMIs on a tall scaffold outside to pump light through the window.

Did you shoot at practical locations, on sets, or both? We shot mostly on location in Leicester with a healthy mix of exteriors and interiors. We used one existing restaurant, but we also built an interior of one of the restaurants in a warehouse just off The Golden Mile.

Shooting on practical locations can be hard, as the locations can be quite tight and cramped. How big a part does the food play? The food had to look as good as it tasted, and someone very kindly said the footage we shot has a glow reminiscent of Chocolat. We shot lots of scenes in the kitchens, and although they were small rooms, there were massive stainless steel tops in the central preparation area, which helped make the framing photogenic. I used some techniques that I use in commercials, such as always shooting plates of food with a tracing frame as close a possible, but out of shot, with a poly in front.

Did you eat a lot of curry? Yes, I really like curry. What were your main concerns during the shoot? Getting enough sleep. To make sure the food looked good, and also to make sure I was shooting the skin tones correctly. How did you work with Amit? I have to say this was a fantastically happy shoot, with a warm family feeling that started with Amit. The best director is one who knows what they want, but not does not want you to tell them how to get it, in terms of the look.

As a cinematographer, you can do anything, but you want it to be their film. Some directors are completely conversant with cinematography, and could or should do it themselves. Others rely on you completely. Amit is in the middle ground, where he knew what he wanted, but allowed me to get on with it.

He took on my technical requirements and balanced these with his creative aesthetic. Were there any happy accidents, unexpected things that worked out well? A sunset. We only had one afternoon to shoot a sunset for the film.

We were on a rooftop, and were shooting just as the sun was going down. The sky turned the most amazing shade of green, a stunning colour that I have never seen before. I had a mm lens on the camera and it will fill the screen in the cinema.

Where are you doing the DI? Will you ever shoot on film again? But film is the best medium you can use, especially on features. We all know that film is going to disappear sooner or later, but the more we can prolong its life the better.

I would exhort cinematographers to keep on asking for it at the very start of working on a production. Tell us about your visit to Cooke Lenses? What a place! They have lens manufacture down to a fine art, and make the best lenses in the world. As their factory is about five miles out of Leicester city centre, we asked them for a tour. Robert Howard, the CEO, showed us around. He is very knowledgeable, and seemed to know the minutiae of different purchase orders they were fulfilling.

It was fantastic to see how they take a roughly shaped piece of glass and hone it to micro tolerances, and to learn about the mechanics and movements that go into a prime or a zoom lens. Sheer excellence, and home-produced. The youngster is being raised by an uncle.

Peter is determined to discover what happened to his parents. One day, he finds a briefcase that belonged to his father. Curtis Connors, whose alter ego is The Lizard. After that discovery, it becomes a quest for justice. Somewhere along the way, Peter is bitten by a mysterious insect, which injects a genetic, radioactive substance into his body.

Within a day, he is much stronger and can move a lot faster. Peter continues evolving day after day. During the last part of the film, he becomes Spider-Man. The story is set in contemporary times. Connors and his alter ego The Lizard.

The ensemble supporting cast includes Martin Sheen and Sally Field. This is the fourth Spider-Man movie. The first three were directed by Sam Raimi. Melanie was trying to introduce me to Marc for years. Marc and I spoke for two hours at our first meeting. Afterwards, I called my wife who had worked on the original Spider-Man movie as a set decorator.

I have about 3, comic books from the golden age of Marvel comics from the s, including Spider-Man One. Schwartzman majored in economics during his undergraduate years in college. He continued his education at the USC film graduate school, where he focused on cinematography. Schwartzman began his career working on low budget horror films, commercials and music videos.

However, 3D mania was sweeping through the industry, and that sparked a mandate from Sony Pictures Studio executives to produce The Amazing Spider-Man in 3D stereo format. It was the first experience shooting a 3D movie for both Webb and Schwartzman. They made an early decision to produce The Amazing Spider-Man in 3D format rather than converting two dimensional images to 3D during postproduction.

Schwartzman heard that a new camera called the Red Epic was being built for Peter Jackson, who was going to direct The Hobbit. He asked production manager Joann Perritano to make a call asking for a demonstration. Schwartzman had never shot with a digital camera. Schwartzman met with Steve Schklair at 3Ality Technica. I said I would share everything that I learn with him.

She designed a skintight costume for Spider-Man using dark colours that they had discussed. When, necessary, we created the right lighting. The suit always looked best in the darkness with a bit of rim light on it and not a lot of fill. It looked more menacing, almost, but not quite a silhouette.

The shape and the way he moved was more important. They averaged shooting 25 setups a day with two cameras on each of several rigs that could be handheld, put on a Steadicam or a Technocrane depending on the scene. There are other scenes with him that look like he is climbing to the tops of buildings in Chinatown. They generally covered scenes with two crews at different angles. Schwartzman notes that on a film shoot it would take a camera crew of eight. He had 22 people on his crew during the production of The Amazing Spider-Man.

There were a lot of cables. I had the stereographer calculating the distances between the two cameras on each rig to create a sense of depth. He also removes the mask a lot more than in other Spider-Man movies. Andrew is quite an extraordinary actor. Schwartzman says that his approach to lighting was no different than any other movie. It took a little longer because of the cables required to power the cameras. He trusted his camera operators to get the framing right.

Webb was generally around 10 feet behind him in the video village watching the A and the B and sometimes the C cameras on monitors in 2D just like it was a regular film shoot. We wanted the feeling of a 3D movie, without accentuating it too much. He shot action scenes and plates. What does Schwartzman do for an encore? The pair were introduced through mutual friends and clicked right away, both professionally and personally.

Eventually, Cinereach came on board as primary financiers. Because he was a first time feature director with first time producers, Zeitlin was advised that his key crew needed to have feature film experience for Beasts Of The Southern Wild.

The two walked around for an hour and played with the pig and cat that end up in the film. Richardson cut it together and called it Matt In The Bayou. They told me that they were going to push for me to shoot Beasts. In early testing, Richardson tried diffusion and soft lenses, but realised that it made most sense to shoot it clean and sharp.

I wanted the camera to explore the world the way that Hushpuppy would. Collaborating with production designer Alex DiGerlando — whom Richardson says did a fantastic job putting in windows, fixtures, places and spaces that he could light with — Richardson put his minimalistic approach to the test.

They ran fire truck hoses all the way through and in and around, creating a dark and dank world for Hushpuppy and her father. It created a little hotspot on the floor that motivated the tiny bit of lighting I did use: just one covered wagon and a tiny China Ball. That was what Hushpuppy was feeling and what I wanted to portray. Rising documentary star Asif Kapadia Senna has produced The Odyssey, a mixture of aerial photography by Adam Dale, whose upcoming credits include new Bond movie Skyfall, audio interviews and archive material.

In What If? As he cuts through the water old British songs play on an intelligently designed sound-track, intermingled with snatches of dialogue. The Swimmer was shot by Argentinian cinematographer Natasha Braier, who first met Ramsay during preparation for Kevin.

Ramsay sent Braier a treatment for the film, along with a compilation of music she wanted to use and reference images as a starting point. Unfortunately, by the time the shoot began it was October moving into November, which brought extra complications on top of filming around water. Casting started in Devon with a group of wild swimmers, but eventually the main performer chosen was someone with more professional discipline.

Tom Litten was cast in the title role; he had been training for the Olympics, but just missed out on being selected for Team GB. Wild swimmers were also used as stand-ins for some shots, but Litten also had to endure bitingly cold water for many of his scenes, shot at a reservoir using a crane-mounted ARRI That meant everything had to be very precise, planning all the shots and then going for one take with no rehearsal.

That was quite challenging. Underwater cameraman Mark Silk and his team from Watertight Films worked on the project with Braier, who has diving qualifications up to advanced level. So Mark operated for that but I was still lighting all the scenes underwater. While she could control the lighting underwater, bearing in mind such principles as the flares refracting in a different way, Braier was at the mercy of nature for the bank-based shots.

These, she says, were technically challenging, working with tracks laid on the riverbank for the crane, which had an arm of approximately 14 metres. Combined with only being able to have him in the water for two and a half minutes at a time it was a big challenge. The film was then graded at MPC. In , Phillip K. The resultant cocktail of violent shocks, startling visions of an interplanetary future and earnest identity politics has since become iconic.

The story followed Doug Quaid, an everyman of the future seeking artificial memory implants of a mission to Mars. It swiftly becomes unclear whether his memories of secret agent work are real or not. Their first film together turned out to be a creatively satisfying experience, shooting over 83 days in and around Pinewood Studios in Toronto, Canada. Neal H. We knew a high bar had been set by Verhoeven and Jost Vacano, who lensed Total Recall, so we made a new film in its own right rather than updating the original iconic characters and imagery.

Even so, the budget of his latest was a revelation and came with an array of surprising and gratifying possibilities. Fortunately exec producer Ric Kidney is very supportive and understood the challenges we faced. Walking the stages of Pinewood during prep, each open door revealed hundreds of set constructors and dressers, rigging for stunts, lighting and grip. Key grip Robert Johnson, a Toronto local, rose to the challenge of meeting all grip needs along with rigger Jon Billings.

I am extremely demanding on my camera crew on any film, but this one in particular required a lot. Of course, many of the sequences need to be executed precisely for VFX, but there is always room for discovery. Cameron kept the Panavision C and E series lenses, and a special set of flare lenses C series installed with small ventricular mirrors, designed for Cameron by Dan Sasaki at Panavision , and shot Although a challenge to get the package ready on time, Cameron is well-versed in thinking on his feet and adapting quickly to changes.

We had to ship in, create and test the digital workflow with Light Iron. Bodies would be updated and tested for stability before they arrived. In a funny way the Epic bodies themselves were like the new disposable camera, we just traded them off constantly. His crew was tasked with erecting massive greenscreens, rigged quickly and often in very unorthodox ways; they covered every nook and cranny of large outdoor spaces and worked around structures such as the postmodern concrete facades of the University of Toronto and the glass dome at Roy Thomson Hall.

A hovercar chase sequence presented one of the greatest challenges, shooting on an airfield north of Toronto and major motorways, using actual hovercars on high-speed racing chassis. It looks great, with that water canal down the middle. Some sequences had three to eight dolly moves to achieve non-stop circular motion around the action and others employed the use of 32 Canon 5Ds to track a circle all the way around the back of a 3D hologram.

Cameron typically works with three to four cameras for most scenes. It usually requires a slightly longer setup to get all the cameras in and ready, coordinating the operators to be at various places at specific times, and a lot of reframing and resizing within a scene. Mind you, watching it unfold on the stack of monitors while shooting is quite satisfying when it all comes together! Tina Gharavi ; Elvis Pelvis dir.

When did you discover you wanted to be a cinematographer? And I loved the smell of chemical developer in the darkroom. When I worked as a runner during my school holidays, it was the exhilarating atmosphere on set, which kept me hooked. A bit like a fun schooltrip. Where did you train? I first worked as a runner on commercials. What are you favourite films? For me his films are timeless and have a visual poetry, which is unsurpassed. Form and content should be inseparable.

Be someone who makes an impossible day a little bit more bearable. Barry Ackroyd BSC — who mentored me. He is incredibly generous. I admire his simplicity of lighting, and the naturalism, authenticity and honesty it creates. The camera follows the action rather than the other way around.

Have you won any awards? Meeting my wife. And your worst moment on set? When I exposed a roll of film as a loader. Unfortunately it was a stunt scene, lots of extras and special effects. The lab actually managed to save the roll by zooming into the neg, but nevertheless, not much sleep that night. What was the biggest challenge on your latest production? Making four weeks of rain in Madrid look sunny for the TV drama Falcon.

Tell us your most hilarious faux pas? Having to cover the film mag with a radiation blanket, whilst filming a girl in Russia famous for her X-ray vision. Away from work, what are your greatest passions? My daughter, ecology, visual arts. What one piece of kit could you not live without? Which films are you most proud of to date? Elvis Pelvis It was made on a shoe string, but nevertheless very ambitious and took four years to make.

I still like the visuals. A coalmine in Kazakhstan, where there was little light, but plenty of vodka. An ident for Sky 2. We shot in a swimming pool at fps on a crane travelling a fair distance and submerging into water, all within 3 secs. With the daylight dwindling, I had to light the scene artificially and operate the wheels on a remote head. We only had half an hour left to shoot it. Stressful it was. Making my left leg disappear.

Works well with my three year old daughter. In the entire history of filmmaking, which film would you love to have shot? Mirror , dir. Some of its poetic visuals are out of this world. Its influence can be found in many films of today.

What are your current top albums? My vegetable garden. Watching my tomatoes grow. To keep an open mind and observe with the camera rather than trying to control everything. The days, when you have to compromise the aesthetic of the film. Architecture or complaining about the art world What are your aspirations for the future? Keeping it fresh. Being able to move people through stories. He was a Super 8 film hobbyist during his youth. Nolan and his future wife, Emma Thomas, organised a film society whilst they were studying English literature at University College in London.

She produced and he wrote, directed and shot the film. Pfister was born in Chicago. His family moved to a suburb of New York City when he was three years old, because his father was writing and producing news for a television network in that area. During his teens, Pfister played the guitar in a rock-and-roll band and experimented with telling stories with his Super 8 film camera.

He worked as a television news and documentary cameraman for a while and majored in cinematography at the American Film Institute. Pfister was in the dawn of his career when he shot The Hi-Line, an independent film that was nominated for the grand prize at the Sundance Film Festival in Nolan decided that he had to meet the guy who shot that film.

About a year later, he tracked Pfister down in Alabama where he was shooting a film. Nolan introduced himself during a telephone conversation. He told Pfister how much he admired his cinematography and described a film that he was going to direct.

They arranged to meet and continue their discussion. Pfister shot Memento with Nolan at the helm in Nolan earned nominations for Memento and Inception. Bruce Wayne is still recovering physically and emotionally from his battles with the Joker and Harvey Dent, the psychotic district attorney who shot cops and crooks alike in The Dark Knight. Batman comes back into the picture after the Catwoman and Bane arrive back on the scene. Bane is a terrorist of mysterious origins, whose face is hidden by a muzzle-like mask.

He has a small army supporting him. The Catwoman is a stealthy villain whose face is also hidden behind a mask. Wayne decides to fight a last battle to defeat the Catwoman, Bane and his army of thugs before hanging up his cape and mask forever. Christian Bale was cast in the familiar roles of Bruce Wayne and Batman. In fact, we originally discussed producing the entire movie in IMAX format, but that proved to be impractical for a number of reasons. They discussed options for the right visual grammar and shot tests with Bale, Hathaway and Hardy.

Anthony Minghella Screenwriter. John DeLuca Producer. Marc Platt Producer. Harvey Weinstein Producer. Rob Marshall Producer. Ryan Kavanaugh Executive Producer. Tucker Tooley Executive Producer. Bob Weinstein Executive Producer.

Kelly Carmichael Executive Producer. Michael Dreyer Executive Producer. Maury Yeston Original Songs. Andrea Guerra Original Music. Dion Beebe Cinematographer. Claire Simpson Film Editing. Wyatt Smith Film Editing. John Myhre Production Design. Phil Harvey Art Director. Tomas Voth Art Director. View All Critic Reviews May 02, Daniel Gay-Lewis.

No, I think that the great Mr. Gay-Le-I mean, Day-Lewis just did this fluff piece because he just can't enough of them Oscars and thought that Rob Marshall's next musical after "Chicago" would have been a shoe-in, seeing as how, back in , he was in a Martin Scorsese-directed, post-Emancipation Proclamation period piece epic, and yet, the Oscar still went to the fluffy musical, instead of the film that really deserved it: "The Lord of the Rings: The Two Towers".

Reilly and Queen Latifah for doing less, so she was probably hoping that being in Rob Marshall's next musical would at least get her a nomination. Well, it would appear as though she was certainly more correct in her judgement then Day-Lewis was in his, because although this film didn't come close to being one of the 24 or so Best Picture nominees at the Oscars for , they shamelessly gave Cruz a nod for, well, actually doing quite a bit more than expected, though not quite enough for her to really earn that nomination; but hey, what can you expect from the ceremony in which they gave Best Actress to Sandra Bullock for "The Blind Side"?

Man, even when they were awarding what might very well have been the best year in film in recent memory, the Oscars still had to make one uncredible mistake after another. Well, needless to say, this film certainly wasn't among that massive haul of upstanding films in , yet it still has its moments. Still, for every moment in which this film sizzles, it hits quite the deal of points where it simply fizzles. I'm not saying that they should spread this puppy into a sweeping, powerful epic about a filmmaker procrastinating while he deals with writer's block, but come on Rob Marshall, loosen it up a little bit.

The storytelling is tight to the point of feeling exhaustingly over organic in its progression, and when the film does finally break for a moment as it makes its transition, you're so used to the story following an ever-running stream that the handful of moments of relief feel rather jarring to the point of sometimes being emotionally convoluted. Still, the storytelling doesn't quite feel as overly convenient or as forced as the musical numbers, which are sometimes dropped in so suddenly and forcibly in such an offputting fashion, leaving a handful musical numbers to immediately lose a bit of steam, as well as a couple to never regain that steam, for a deal of the musical numbers lack dynamicity, and fall short on oomph and consistent entertainment value to where they are - dare I say it - a little bit dull.

The film isn't overwhelmingly shoddy, though it is quite messy, and all of that messiness only intensifies the film's biggest flaw: Emotional distance. Sure, in all honesty, the film has its points - particularly during the latter acts and a pretty sharply graceful ending - where it does hit pretty quite hard, but on the whole, the film just does't have a real flashy spark to it, leaving you to sometimes sink in your seat, check the clock and simply fall out of the film, and while those moments are far and few between, there's enough of them for the film to fall a bit flat on delivering an impression on the audience.

Still, although the film loses you here and there, it's hard to not find yourself coming back for more. The film may not deliver as well as it should, let alone as well as "Chicago" did, yet it's still kept going by more than enough value, particularly style value.

Rob Marshall's fine taste in production may not be as elaborate as it was in "Chicago", yet he and his art directors still boast a lively eye for recreating s Italy in a subtle, yet effective fashion that really adds to the dazzle of the film, especially in the wake of Dion Beebe's lovely cinematography.

It's debatable whether or not Beebe has outdone his work with "Chicago", yet his beautiful eye for photography for this film is, at worst, on par with his eye for "Chicago", bursting with handsomely saturated, yet very bouncy colors and moments of lighting that really catch your eye, particularly during the musical numbers.

Sure, as I said, some numbers fall flat, with few numbers coming close to the quality of most productions from "Chicago", but when the tunes do pick up, it's hard for you to not lift up too, in awe at the sweeping, lively musicality, complimented by dazzling production to make the numbers as much a feast for the eyes as a feast for the ears. A fall-flat number can be among the lowest notes in the film, while a really winning one can be among the highest, yet what really grips you the most, or at least as much as it can, is the story.

Sure, the substance isn't terribly enthralling, due to such unfortunate emotional distance, yet, if nothing else, the story charms in its very nostalgiac feel for the lively, yet sometimes rocky world of the Italian entertainment industry, circa s. Still, the real owner of the show is the always winning Daniel Day-Lewis, who is certainly not even coming close to delivering a truly impressive performance, or at least not until the latter acts, yet still really nails the charisma, sleaze, cleverness, anguish and, of course, the accent of your usual case of the classic Italian artist whose just not hitting as hard as he used to, and while the film doesn't always deliver on engagement value, if no one sustains your attention, then it's our charismatic lead.

At the end of the show, it's difficult to keep a good grip on the memory of the experience, as its oomph goes tainted by spotty storytelling, as well as forced and sometimes underwhelming musical numbers that help in distancing the emotional resonance, yet not to where you can't be won back by the dazzling production and handsome cinematography that compliment the worthwhile musical numbers - which decidedly outweigh the underwhelming -, as well as across-the-board charming performances, headed by the predictably charismatic Daniel Day-Lewis, who helps in making "Nine" an ultimately quite entertaining show, even with its many trips along the stage.

Cameron J Super Reviewer. Mar 18, Sexy and sleek, Nine is a lot of fun. The songs are great, and the visual flare produced by Rob Marshall is unique. I haven't seen many musicals but this one is made with care and style. Daniel Day-Lewis has had better performances, as he's not entirely convincing as a true Italian. A good performance makes you forget that the actor is an actor, that the actor is American or English or whatever they may be.

But here, seeing Lewis speak with an Italian accent doesn't make you forget the fact that he is English. I guess his character could have been better cast, perhaps someone with true Italian blood. The story isn't well thought out, and the leading actor could have been better. But I still really enjoyed Nine.

The sexiness of the actresses and the setting of Italy is simply irresistible. Kevin M Super Reviewer. Oct 14, Sometimes you need to weigh up your options. Either you go by the director who happens to have made one of the worst and most overrated films ever with "Chicago" or you go by the actor who has delivered consistantly memorable performances in his career with "My Left Foot", "Gangs of New York" and "There Will Be Blood".

In this case I went with the actor but that still didn't save a poor director, poorly plying his trade. Once-celebrated film director Guido Contini Daniel Day-Lewis struggles with his unwritten script for his comeback film. Looking for inspiration, he turns to his mistress Penelope Cruz , his wife Marion Cotillard , his muse Nicole Kidman , his confidante Judi Dench and his childhood memories to solve his crisis, with unsuccessful yet well-sung results.

I really wanted to like this film as I'm a big fan of Daniel Day-Lewis and the impressive cast of females has rarely, if ever, been bettered. However, I'm not big on musicals or director Rob Marshall for that matter. Thankfully, this is not quite as bad as Marshall's overrated stinker "Chicago", but it isn't much better either. Day-Lewis was my main reason for attempting this and considering he's quite fastidious in his choices, I thought I'd follow his lead on this one.

I was wrong and so was he in choosing this meandering borefest. The look of the film is gorgeous, as expected, with fabulous production design and cinematography and the ladies oh the ladies look amazing and deliver their song and dance numbers competently.

Having Judi Dench in a corset was just a tad too much for my liking though. A lush and extravagant musical that has style in abundance. Substance is what it lacks though, leaving a great cast struggling to save it from tedium. Suited to fans of the genre only. Mark W Super Reviewer. Sep 27, A film with fiery passion, an amazing cast of top-talent actresses and the always impressive Daniel Day-Lewis, led by the creative director of "Chicago", Rob Marshall.

This is the makings of a great landmark film, however where it falls is the subject matter and the execution of it. This film is disjointed in ways that even those not watching the original could still be confused by. A decidedly good effort, and by itself, it is a bit too chaotic and not nearly as bold as the film it is homaging and based on. Matthew R Super Reviewer. See all Audience reviews. Best Horror Movies. RT Podcasts. Most Anticipated Movies.

Best Netflix Series. Go back. More trailers. The Bear: Season 1. Wellington Paranormal: Season 3. Chloe: Season 1. Loot: Season 1.

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